Thanks to the characters and story which Jean Dauberval invented in 1789, La Fille Mal Gardee is perhaps the most likeable of all classical ballets, to which Frederick Ashton’s inspired but traditional new version gave fresh life in 1960.

Lucky Miyako Yoshida and Viacheslav Samodurov to be the first of no fewer than six casts as Lise and Colas in this season’s revival - they looked as happy with the roles as we are to see them.

José Martin as Alain, the rich simpleton heading for an arranged marriage with Lise, may be Spanish but he recognises that in Alain he has been entrusted with one of the most English of creations: the poignant comic.

There are few ballets that are as enjoyable as “Fille Mal Gardée”, and even fewer that can rightfully claim to be a choreographic masterpiece. Though the odds were against Ashton when he decided to rework this masterpiece from the past, he managed to produce a work of genius capable of sustaining the audience’s delight, in spite of the music and the story. From the moment the chickens jump onto the stage to open the ballet with their dance, Ashton managed to challenge the audience’s expectations of what a “classical ballet” should be like. Only Morris or Tharp can manage to do something like that in our day and age.

“Fille” is rightfully part of the Royal Ballet’s heritage, but at times it suffered of underperformance in its leading roles and over the top interpretations in the character ones. The way the company performed the ballet on Wednesday 26th April left room for improvement at all levels, but at least showed a commitment to the work that had been lacking in the past years. There was actual improvement in all the interpretations as the work progressed and by the second act, it resembled the “Fille” we all used to love.

Roberta Márquez performed Lise. In the first act she seemed to be struggling with the choreographic language that Ashton assigned to the character. Cecchetti’s technique is lacking in today’s dancers and the constant hops in point and very fast footwork of the variations defy young interpreters. However, by the Fanny Essler’s pas de deux, she managed to overcome all technical difficulties and she seemed to find the confidence lacking in her previous appearances. From then on, her Lise was a delight to watch, especially in all her long scene with her mother, back at home, during the second act.

Ricardo Cervera’s Colas was a joy to watch from the stylistic point of view. However, like Márquez, he seemed to suffer in the characterisation of his first act appearances until he went past his variation in the pas de deux, which he excelled at.

Philip Mosley’s Widow Simone lacked musical precision during the first part of the ballet, but once he performed his Clog Dance, he offered one of the best performances of this role I have seen for some time. He simply did not overdo it, as most of his colleagues undertaking this role tend to do. As with so many of Ashton’s ballets, “less is more” and the dancers taking up his character roles should try to add as little as possible to them.

Giacomo Ciriaci’s Alain became better as he went along. I just wish that these dancers were given more precise instructions as to the ethos of their roles. Technical ability in a role as Alain should be secondary to the fact that the role needs to gain the sympathy of the audience, while being funny at the same time. As with Mosley’s performance, there was lack of timing with the music and this is crucial in this part. However, his final entrance to collect his umbrella was a joy to watch, so one can only hope the difficulties will be overcome.

Overall a very good performance of a great work. That Ashton can still make us leave the theatre with a smile on our faces after seeing his “Fille” only proves what a genius he was!

It was definitely a very very special night for Laura Morera. She sparkled radiantly as Lise. She handled the characterisation of Lise naturally. Her performance was accomplished with joy and confidence. Surprising, taking on a big role as Lise on the big stage for the first time, she did not fumble, or wobble or entangle herself with the ribbon. As a matter of fact, on her entrance in the 1st Act, her balances were so steady that the conductor had to pause a moment before continuing the music. Personally, I felt that Morera is one of the dancers who do not have an 'ideal' ballerina physique, but she worked hard and perform miracles. She managed Ashton's choreography brilliantly. Her quick footwork was handled with crisp and attack, and her upper body was filled with lovely epaulment and fluid port de bras. It was a delight to watch her dance.

Ricardo Cervera's Colas was full of youth and cheekiness. However, he didn't quite managed his solos as he would have on previous nights. His pirouettes were unsteady, however, his leaps were particularly buoyant and interesting to watch.

It was utmost enjoyable to watch such a lovely partnership dancing on stage. Both dancers synchronized their lines and attack, creating a very harmonious effect on stage.

Giacomo Ciriaci was a heartwarming Alain, Phiilip Mosley was a delightful Widow Simone. His/her clog dance was performed with zest of the character.

It was great pleasure to see the rest of the company in their characters and enjoying themselves on stage. Apart from one of the harvesters being out of line, the rest of the company was very much in sync. Also, it was nice to see Royal Ballet School's Sergiy Polunin (Winner of 2006 Prix de Lausanne, and 2006 Young America Grand Priz) on stage.

It was a jubilant and enjoyable performance. It was a special evening for a new Lise. Morera deserved her little glory. Congratulations to Morera and the company for the happy vibes they sent, throughout their performance.

Thanks, pixie, I can well believe that this was a delightful casting. Laura Morera and Ricardo Cervera always make a fine dancing partnership and Giacomo Ciriaci is another excellent performer. Philip Mosley has a knack in character roles, as well as carving out a successful career in administration at the ROH.

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